This month I published two articles.
For the French magazine Turbulences Vidéo I reviewed the performance film Nature vive by Hantu (weber + delsaux). The film was made while the duo exhibited at the 3 rue française space of Miss China in Paris and first shown on the site of Mucem. Consult or download the magazine here. The review is published in French and English.
Featured image from Une fille comme toi by Jan Baetens.
For some time now Nathalie Hunter has been exploring ceramics as a medium. But she also remains a fantastic draughtswoman. In a recent series of drawings for the ceramics center Markt 1 in Rumst, Belgium she combines her love for drawing and ceramics.
Find her project and Nathalie’s comments on it below:
The Markt 1 Ceramic Art Center was created out of a willingness to bring people together. The founders had raised a crazy amount of money in Dec 2018 to help people with ALS disease.
This brought such a such strong sense of belonging and of gathering in the ceramic community that they came up with the idea to start a ceramic center.
Courses and masterclasses are being held, lectures and teambuildings can be organised. Any idea can become reality.
So I felt honoured when they asked me to make different wall drawings in the whole building, as to bring the different spaces together.
The root of my work always lies in interaction.
Hereby I mean that whatever I make, builds upon a conversation, or sets of ideas and desires that come from the client.
In this drawing I wanted to bring together clay, building, togetherness and growth.
In my career as a contemporary artist I have worked with computer programs, set up drawing machines to name a few things as to bring in the viewer into the work. So that the viewer is the co-creator of the work.
Here, for Markt1 we sat around a table with masks, and the owners told me about the place they have created, about their vision for it, and how they want it to evolve.
The main ideas i started to work on were:
Bring people together,
Work around one theme and unite,
Never not learning
Weekly classes but also masterclasses with the rock and roll stars from the ceramic world.
Hanging plants that suddenly became so happy when they were given a support to grow on.
Peacock feathers and forget me nots.
Ginkgo, to help us not to forget (medicinal tree very good for the brain)
To laugh and have a drink together
To be alive, happy and kicking.
And though these are very hard times in this industry (courses are still forbidden), they want to keep expanding their vibe and take the risk to keep growing. To make this place an even happier place than it already was. To keep shining, because this, this is what the world needs right now!
So, dear friends, raise your vibe, feel your heart, feel the gratefulness with all your senses, one by one, and SHINE
Love, Always, Nathalie
Her exhibition Ruminatio runs until 30 January in Espace Camille Claudel, Amiens. You can virtually visit it via the site of ADAC art contemporain.
Images: installation Barbarie, Rumination, Espace Camille Claudel, ADAC art contemporain
From 15 to 17 January Rue Française organizes EVERGREEN as a form of intra professional artistic meetings with installations, workshops, dance, music, design and poetry. A way of living green.
Hantu (Weber+Delsaux) will contribute with their performance Bonzai et toujours verts Friday 15 January round 6pm
At Rue Française, rue de la performance
3 rue Française, 75001 Paris
More info https://www.facebook.com/ruedelaperformance
Well 2021, you’ve been eventful already! On the second Sunday we publish in the Empirical Sunday Daily the work of Greek artist Jason Karaïndros who will participate in BOLERO 2021. Find his page in END here.
On this occassion I would also like the share the English version of the text I wrote on his work for the CosmiComix catalogue that come out as nr 81 of the French magazine Alliage. The group exhibition which is inspired by Calvino’s Cosmicomics, had to be postponed and will now take place during the Printemps de l’art contemporain at the Galerie des Grand Bains Douches de la Plaine, Marseille from 13 May to 17 July 2021.
It’s not exactly clear when JK73-63 started talking with Galilei. We have the object of course, which dates from 1994. And to be precise, we have more than one object because in total there are five, the last one resurfacing in 2011. But that doesn’t answer the question. Even though most of JK73-63’s work materialised end of the 20th, beginning of the 21th century of the era known as the Anthropocene or Phonocene on Planet Earth, we discovered that he had been around a lot longer. We suspect, if that’s the word we must use, that he first appeared as leader of the Argonauts when he became known for his quest of the Golden Fleece. But actually, and unknown by many, JK73-63’s quest prolonged throughout the centuries, because he slowly but surely, realised that the possible answer to his quest was not the fleece as object, but the connection to be found between art and science.
It’s not clear why he waited so long to start making work, but then we can obviously state that time is a relative principle, that thinking one or two or more centuries before actually producing might not be a bad thing, and that at the same time these centuries fly by like seconds. There was of course also the repetitious process of being born and reborn which slowed things down considerably. We don’t know how often he reincarnated but our research found that in any case, round about the time that Galileo Galilei developed his thinking around the sun as centre rather than the earth, JK73-63 happened to be in Padua and started to have conversations with him on the nature of his thinking. It let JK73-63 to realise that Galilei’s paradigm shift from earth to sun as centre was like mentally turning a key in an imaginary keyhole. With which to open a door to another way of viewing the world. And the whole of the universe for that matter, the reason why we got interested in him in the first place. But it was especially defending his so-called heliocentrism with the statement “E pur si muove – And yet it moves” that made a lasting impression.
It’s not known why JK73-63 made the object or key in brass, but then brass was apparently a common material for keys on earth. As far as we’ve been able to find out, the shape is however not that of any ordinary key. Especially its beard has a peculiar form, as if it’s a passkey rather than a specific key. That in itself it’s fitting as we could say it’s a key to common sense. The half circle fitted in a rectangular shape also seems to stress a liberation from a kind of stronghold, a fluidity opposed to a wrongful rigidity. Just to be perfectly clear, JK73-63 also labelled the key – the name Galilei is engraved in a what can be seen as classical handwriting on a round brass label attached to the keyring that also holds the key.
It’s neither known how to fully explain the images with which the object was presented on a ‘website’, as it was called at the time. In total there are six – one in which the object is offered so to speak in two open hands, an offering for everyone to take, maybe again alluding to common sense. Then there’s an image of the object hanging on a coatrack, on its own, next to an empty coatrack, on a white wall. Maybe to stress that Galilei’s important discovery also isolated him? Then the object, or one of its versions, is shown in a frame, against a red velvet background, with someone looking at it. In its isolation and framed as it is, it becomes precious, but also resembles a mysterious scientific object, raising questions. A fourth image seems to be a closeup of the object in the frame. Finally, there are two images that seem even more mysterious. A brown spherical object, like a globe, covered with about 17 small images that we could identify as so-called stamps, sits in a blue box on top of several letters. On the globe we can read that it’s addressed to Galileo Galilei at 82, boulevard Soult in Paris. As far as we know Galilei never lived at this address, but we wouldn’t be surprised if he, just like JK73-63 himself, resurfaced later in history. In that case he might have worked in the optician’s that was located at this address. Maybe there’s a connection with JK73-63 himself since he had resurfaced in Paris, France for quite a while, although we believe he originated again in Greece for this reincarnation. The question remains what this spherical object is or what it contains. Does it hold the key? We will continue our research and will report in this on a later occasion.
It remains equally unclear on how to relate this object, here we mean the ‘key’, to the other work of JK73-63. On the said website we discovered quite a lot of his other work, organised around so-called key words, such as Collaborations, Interactivity, Shadow and Light. The key is to be found under the heading of Science and here we discovered four other works that seem to shed more light on its meaning. The works are not shown in a chronological order so that suggests that there is a certain importance to the way they are portrayed. For the sake of the length of this report I want to specifically draw attention to the last two that are called, ‘Fragment de lumiere’ and ‘Rayon vert’. In the first case JK63-73 tried to find an equivalence of the speed of light, something we have been struggling with for a long time. He proposes here four different ways, one of which is drawing a very thin line of 3km which he did not manage to do with the speed of light. According to the description the line resulting from this attempt represented other factors, such as ‘tiredness and exaltation’. We find this interesting. ‘Rayon vert’ is another attempt to draw at the speed of light, but this time the thin line of 3km is drawn in different colours and in a location on Reunion. We mention these two works specifically because JK73-63’s work came to our attention through a minor disturbance of the universe occurring in December 2019. This was caused by amongst others JK73-63 who drew another line, yellow this time, which symbolised the distance to the comet 2I/Borisov that was passing at the time near Planet Earth. We suspect, and here we use the word deliberately, that these works can possibly say more about the Galilei-key and that these can be of use in our further explorations. We therefore highly recommend inviting JK73-63 to reincarnate on our spaceship to continue his research in our team.
ED63 on Spaceship RSH126, April 3020
Images: Jason Karaïndros, Catharsis 1, 2, 3, 4, 5; Galilei’s Key
The new year comes with a new initiative – Bureau Doove Editions will help to publish small editions of artists books up to four times per year.
We start with Éternitéencours by Héloïse Marie, a young French artist who’s work I showed in the exhibition Ensemble in 2019. In a play with the relation between human and non-human, Marie retraces the development of a pebble in its environment. It’s launched into its world, living a life that it mainly undergoes. A life in which movement or calm incessantly alternate, leaving the pebble feeling lonely amongst the crowd.
Éternitéencours is printed in 50 copies on recycled and tracing paper with a black spiral binding.
€18 plus postage
It can be ordered by using the contact form on Marie’s site.
Killer Wraps® is a hybrid moniker and art brand created by Neil Wood. It names his particular style of poetry and his on-going project – where words are written, tested, thrown into hyperbole – and then brought to life in a combination of selected media such as flattened boxes, solid wood sculpture, printed limited editions, notebooks, T-shirts and filmed performance.
Language conjuring up form is adopted literally and deliberately as a strategy in Killer Wraps®. While the visual appeal of colour is exploited as a subterfuge for gaining access to hearts and minds, the history and etymology of selected colours is also offered as the starting point for establishing a new kind of narrative – one where sonic rhymes and surreal scenarios pop-up by choice or by chance.
The project shows words being applied in ways which flaunt traditional grammar with the kind of flippancy and humour a play-write or comic might appropriate a well-known subject, or freely revisit art history.
Thus, along with the structuralist school and the Bauhaus, Ellsworth Kelly’s 1951 artistic manifesto ‘Line, Form, Color’ comes to mind. And while Kelly’s original drawings and subsequent mural masterpieces have since passed into art posterity, the original 3 part stance remains an important benchmark for Neil Wood.
Killer Wraps® invites play and asserts a strong cryptic potential worth following, treading a very fine line between pathos and transgression.
See Neil Wood’s END page here.
Hantu, The-chewing-gum-mask, 2020
On this last Sunday of 2020 we present in END the series of masks that were developed by Hantu (weber + delsaux) during the last year. The first ones were presented beginning of April during an online conference for their equally online exhibition at Bureau Doove. Since then the series has grown considerably, at once a tongue-in-cheek comment on and protest against this strange object that has invaded our daily lives. Hantu will contribute to the new edition of Bolero in spring 2021. For now find their contribution to END here.
Bureau Doove will take a break until next Sunday – enjoy the holiday, have a good ending of 2020 and especially a very good beginning of 2021!
Featured image – Hantu, Mask-me-anything, 2020
Some good news at the end of the year. Bureau Doove is extremely happy to announce their first exhibition project for 2021. We are also especially pleased that it takes place at ChezKit, an artist run studio and exhibition space in Pantin, Paris.
Troupe/Troep is a group exhibition which could also be called a theatre play, in which each element – the artist, the curator, her/his work, the space – is a player that is free to move around. One of the starting points for the development for this project on chaos and non-linearity, was the short film All Time is Time by Ivan Blazhev and Mike Blow, a photographic film project inspired by Kurt Vonnegut’s Slaughterhouse 5 about the controversial bombing of Dresden at the end of World War II in which the entire historic core of the city was razed to the ground. The film focuses on Dresden and its reconstruction as a pretext for exploring history, memories, their fragility, and nonlinear, broken time. From this Troupe/Troep was developed as a reflection on current times, the fragmentation, chaos and waste of the world, questioning the body and its functioning in times of crises, connecting the human and non-human, trying to find sense and beauty in the discarded.
The troupe or band consists out of seemingly unconnected figures, not unlike the meeting of artists that would eventually form the first Dada group in the Zurich of 1916. Some of the troupe’s members are, like Mike Blow, affiliated to Bureau Doove – Sara Bomans, Alexandra Dementieva, Hantu (weber + delsaux), Remco Roes (in collaboration with Koenraad Claes) and Neil Wood. To this are added Benoît Géhanne who’s inspiring studio visit made me discover Pantin, and Chloé Elmaleh, one of the artists working at ChezKit. Finally, there’s a group of young former students that I had the pleasure of meeting and working with at ESADHaR Le Havre-Rouen while teaching there: Julie Canu, Lucas Cyrille, Louise Delacroix, Fleure Leclere, Si Liu, Thomas Maestro, Tom Sagit, Agathe Schneiderand Wenyu Zhang. But basically there are no divisions or categories, only meetings, conversations and exchanges. The Dutch word troep has the same pronunciation as troupe, but is not just a repetition or alliteration. It adds the sense of messiness to the mix, which is however used in a constructive way, again not unlike the dadaists.
While the development process has already started with a first meeting in ChezKit and exchanges via mail and zoom, we intend to start an intense collaboration with all participants from Wednesday 27 January onwards with an opening on Friday afternoon 29 January and an ongoing show until Sunday afternoon 31 January. Find the Facebook-event here.
Image Edith Doove, Found, 2006
Bonnes nouvelles de fin d’année. Le Bureau Doove est extrêmement heureux d’annoncer son premier projet d’exposition en 2021. Nous sommes aussi particulièrement heureux qu’elle ait lieu chez ChezKit, un atelier et un espace d’exposition géré par des artistes à Pantin, Paris.
Troupe/Troep est une exposition collective que l’on pourrait aussi appeler une pièce de théâtre, dans laquelle chaque élément – l’artiste, son travail, la curatrice, l’espace – est un acteur qui est libre de se déplacer. L’un des points de départ du développement de ce projet sur le chaos et la non-linéarité a été le court-métrage All Time is Time d’Ivan Blazhev et Mike Blow, un projet de film photographique inspiré de Slaughterhouse 5 de Kurt Vonnegut sur le bombardement controversé de Dresde à la fin de la Seconde Guerre mondiale. Bombardement au cours duquel tout le centre historique de la ville a été rasé. Le film se concentre sur Dresde et sa reconstruction comme prétexte pour explorer l’histoire, les souvenirs, leur fragilité, et le temps non linéaire et fractionné. Troupe/Troep est une réflexion s’est développée sur l’époque actuelle, la fragmentation, le chaos et le gaspillage du monde, en questionnant le corps et son fonctionnement en temps de crise, en connectant l’humain et le non-humain, en essayant de trouver du sens et de la beauté dans ce qui est rejeté.
La troupe ou le groupe est composé de figures apparemment sans lien entre elles, comme les artistes artistes qui allaient former le premier groupe Dada, se rencontrant à Zurich en 1916. Certains des membres de la troupe, comme Mike Blow, Sara Bomans, Alexandra Dementieva, Hantu (weber + delsaux), Remco Roes (en collaboration avec Koenraad Claes) et Neil Wood, sont affiliés au Bureau Doove. À cela s’ajoutent Benoît Géhanne, dont une inspirante visite d’atelier m’a fait découvrir Pantin, et Chloé Elmaleh, une des artistes travaillant à ChezKit. Enfin, il y a un groupe de jeunes anciens étudiants que j’ai eu le plaisir de rencontrer – et avec qui j’ai travaillé – à l’ESADHaR en y enseignant : Julie Canu, Lucas Cyrille, Louise Delacroix, Fleure Leclere, Si Liu, Thomas Maestro, Tom Sagit, Agathe Schneider et Wenyu Zhang.. Mais fondamentalement, il n’y a pas de divisions ni de catégories, seulement des rencontres, des conversations et des échanges. Le mot néerlandais troep a la même prononciation que troupe, mais il ne s’agit pas d’une simple répétition ou allitération, car le mélange ajoute le sentiment de désordre.
Alors que le processus de développement a déjà débuté avec une première réunion à ChezKit, et des échanges par mail et par Zoom, nous avons l’intention d’initier une collaboration intense à partir du mercredi 27 janvier, avec une ouverture le vendredi 29 janvier après-midi et une exposition continu jusqu’au dimanche 31 janvier après-midi. veuillez trouver l’évenement facebook ici.